As a BDS activist, whose main focus is cultural boycott, I’ve come up against a very common Israeli claim (individuals, small business, and government officials) that “culture has nothing to do with politics”. Most commonly it comes in the form of a puzzled “rhetorical” question: “What does culture have to do with politics?!” As if asking this question closes the discussion, because it’s so obvious that art, music, books, films, theater and dance are a pure form of entertainment that has no intellectual, political, anthropological value. As if cultural products aren’t bought and sold as commodities and status indicators.

Shuki Weiss Promotion and Production Ltd. in the Service of the State of Israel

It’s me again. After 11 letters from all around the world, a petition with over 6400 signatories that just keeps growing, and a couple groups on Facebook [1,2], it seems like you’re determined to go through the motions of a performance in apartheid Israel. Sure enough, after a long silence from you, we’re seeing the standard Shuki Weiss promotional video, reassuring fans that past cancellations won’t repeat, and that the world still in fact loves Israel. I can reiterate what was written in other letters and statements, but I much rather just respond to one thing you said in the video, which burns with irony: “We love playing for people. Children, middle aged, and old people. So come one come all.”

Congratulations to BRICUP, the Palestine Solidarity Campaign, Jews for Boycotting Israeli Goods, and the Boycott Israel Network for disrupting a performance of the Israeli Philharmonic Orchestra at the London Proms to such an extent that the BBC was forced to take its Radio 3 live broadcast off the air. The IPO has a ‘partnership’ with the murderous Israeli Defence Forces and acts as a key element of ‘Brand Israel’, whitewashing the crimes of the apartheid state. Below, a letter from concerned musicians to the Independent explains why apartheid art is not welcome here.

Proms exploited for arts propaganda campaign

As musicians we are dismayed that the BBC has invited the Israel Philharmonic Orchestra to play at the Proms on 1 September. The IPO has a deep involvement with the Israeli state – not least its self-proclaimed “partnership” with the Israeli Defence Forces. This is the same state and army that impedes in every way it can the development of Palestinian culture, including the prevention of Palestinian musicians from travelling abroad to perform.

Since the second that I’ve realized that the only political action left for people who wish to see Palestinian rights realized is Boycott, Divestment and Sanctions, it’s been immediately clear that the Palestinian produce and services, and culture and narrative would have to be simultaneously promoted. This would prove to be tricky after 60 years of ongoing ethnic cleansing and simultaneous economic buildup. The systems that have formed in Israel for the benefit of the Palestinian population have often artificially separated the “social” from the “political” and created institutions that are unable and unwilling to truly improve Palestinian lives. Without political analysis, we are left with institutions that’s sole purpose is to serve as a fig leaf, depicting Israel as a state which promotes Palestinian social care and voices, when in fact, all they do is pat themselves on the back for boxing the Palestinian population into a perpetual state of dependence and forced gratitude.

This panel is not only devoted to considering arguments about implementing the call for Boycott, Divestment and Sanctions (BDS) against Israel, but also about broader problems of progressive political positioning and backlash in the academy. Although I do not deal with the April 2 case of Richard Goldstone’s unprincipled U-turn on the findings of the United Commissions commission into Israel’s 2008-09 Gaza invasion, the incident suggests the extent to which South African commentary on the oppression of Palestinians has become acutely politicized. For if Goldstone’s return to his Zionist past – recalling, too, his past as a minor apartheid-era judge (hence as a human rights ally, his zig-zag unreliability, reliability and now unreliability) – serves any purpose aside from empowering Israeli militarists, it will be to compel us to use South Africa as a base from which critical inquiry into the condition of Palestine must now be intensified. Fortunately, just such an opportunity arises in the case of the University of Johannesburg faculty Senate’s decision on March 23 to support the Boycott, Divestment, Sanctions (BDS) struggle by breaking ties with Israel’s Ben Gurion University of the Negev.

The neutral Switzerland is about to host a yearly Culturescapes festival. Every year the festival focuses on a different country. This year- the most successful for cultural boycott, yet- it just had to play into Desmond Tutu’s hands and focus on Israel.

A Word about Culture

Culture is a word I’ve been hearing a lot lately. Israel’s Brand Israel campaign is focusing on PR apartheid; Hiding it’s atrocities as best it can, and highlighting it’s “advantages”:

In the Ministry of Foreign Affairs, 6 niches were identified in which Israel has a relative advantage… The 6 niches through which it is planned to promote Israel, in the world, are environment (with an emphases on desert agriculture); Science and technology (medicine, internet and hi-tech); Culture and art; Human variety and tradition; lifestyle and leisure culture; Tikun Olam [=Fixing the world] (support of populations of special needs).